Mr. Milnes was a very gracious person when i spoke with him backstage after a performance in Columbus, Ohio. ELIJAH. What a authentic and Great Person!
Great memories sharing chorus stage with Mr Milnes Mr Pavarotti in Verdi Un ballo Greater Miami Opera 1988 Flagler Auditorium william Buckley conducting. Luciano and Sherrill in their prime.
I was very lucky to hear Milnes in London as Rigoletto, Simon Boccanegra and Macbeth in the 1980s. One of the greats; no one of his quality around today sadly. He was a splendid actor too.
Sherrill was an outstanding performer at the Lyric Opera of Chicago. I played bassoon in the orchestra and it was always a delight to hear him sing and to watch him move on stage. He was a good actor too!
It is impossible to review the greatest opera stars of the last century without discussing Sherrill as one of the brightest. His stunning musicality both on the stage and on recordings has meant so much to me. His unique and powerful voice will live on forever. Someone I would love meet, I wish I could have been at this conversation in person. So inspirational, thank you.
I heard him just before he went to the Met. He sang many dramatic arias so intense. I was riveted. Then, as if to cool us down, he sang Oh Shenandoah in a soft, gentle, non operatic voice, like a lullaby. Later I got him on the dvd of Fanciulla and loved him as Rance. Fine actor too!
Milnes really IS good at death scenes - I remember hearing his Rodrigo on recording (the Giulini) and his death scene was simply fantastic. Such a perfect balance between realistic pain and gorgeous legato. And his Boccanegra is absolutely majestic. I don't think I ever heard the curse scene more frightening than the way he did it. He just obliterated Paolo with his voice.
What a great interview,almost all my questions were answered.I can feel that he is a thoroughly modern singer into acting details,scenarios etc.I am almost his age but I find that sometimes there is too mch distraction with the acting or excessive stage embelishment I close my eyes and concentrate on the voices.I{ve seen some operas with minimal stage arrangements and I love it,
I just came across this interview; still relevant, still fabulous. I always felt that with Mr. Milnes's handsome Scarpia, Tosca could have been "a little more lenient" (and save herself and Cavaradossi a lot of trouble).
an intelligent and important star. The 70 and 80s were a great period because of him. Too bad that later he had to use "hooks" to grab those high notes that were the glory of his early years. Stylistically he was kind of a Warren imitator ( but hell, he was the man to copy!) Milnes was THE Verdi baritone during the late 70s - but never quite went the full distance. Ii attribute it to the size. Not a small voice but not in the league of Warren Mccniel or Merrill. I was underehelmed after his recordings to hear him live. Still love him. Greatest Luisa Miller cabaletta ever! (met telecast)
@@jefolson6989 Oh, geesh. Who goes the full distance? Some die young (Auger, Troyanos, Leonard Warren), some lose their top notes before they're 50 (de los Angeles, Tebaldi, Callas, Moffo), some give up for their own personal reasons (Farrell, Ponselle), some make bad personal choices (Callas again)... and yet all those listed so far are great singers. You can count on one hand the sopranos who went the full distance: Nilsson, Sutherland, L. Price. And one could find other faults with them too! Milnes probably STAYED too long--that's another matter. One can only speculate about what happened to his voice. The cost of those many G-sharps and As? Maybe Levine kept hoping he'd repair that waver. But that doesn't really matter, does it? because, at his best, Milnes was the best of his time.
Yes, he was a bit of a Warren imitator, especially when it came to high note itiis, and there were some idiosyncrasies in his singing-but all singers have them. I have no idea what not ":going the full distance" is supposed to mean. You may prefer other baritones, but he was as big as you get, and went the "full distance." Your comment about vocal size is just wrong. I never heard Warren live, but heard all the others many times, and Milnes had a very big voice, and made a great impact in person.
Milnes = awesome. The original great American baritone stud. But Fred! As soon as I meet an 'opera person' w/ a scarf---I'm out. Too many clips, too much Fred. Let's hear from Mr. Milnes; he's really interesting and smart. Plotkin's insights into the 400-yr arc of opera history isn't all that profound either, judging by his book. I wish Milnes had sung Chevreuse in Donizetti's 'Maria di Rohan'. That would have been something!
When talking about opera baritones of the 2nd half of the 20th century, there was Warren, Gobbi, Merrill, Milnes, and then there was everyone else. Those four names are in their own league above other greats like Fischer-Dieskau, Cappuccilli, Taddei, MacNeil, Bruson and Bastianini.
@@sw5114 Oh yeah. Zancanaro had a great voice and made some good recordings. Funny story though that Riccardo Muti once told in an interview of him trying to get Giorgio to hold back his volume and do more vocal shading. Giorgio wouldn't do it. He'd just keep doing it the same way every time. Which probably sounded great but wasn't what Muti wanted for that line.
Always the case with PLOTKIN. I listen because he had great guests. Once in a while, they get a word in when Fred has to take a breath. We want to hear THEIR stories. This is actually one where Fred takes a back seat! ( for him, anyway)
It pinnacle of Milnes career for me was the Cabaletta in Luisa Miller. On the telecast, you can see Milnes take a beat, and fill up with Supreme confidence. Words like " nailed it" don't convey it adequately. That night, that moment, everything perfectly in order. Thrilling!
@@jefolson6989 I agree. There are two versions of ‘Ah fu giusto’ on UA-cam. They are both absolutely splendid singing, but of the two I think the one that is audio only is better, the ending in particular. Rather than sing the written note and then attack the A flat, he goes right up the scale. MacNeil used to do that in the ‘Ernani’ aria, and the effect is always hair-raising.
Plotkin is so unbearably self-regarding and -promoting that it's hard to sit through these "interviews." (I love the comment here in Italian -- "he talks too much, and he says nothing.") He also commits blunder after blunder. Corelli on the Callas/Gobbi TOSCA? (That was Giuseppe di Stefano.) Bergonzi on the first Sutherland LUCIA? (No: Renato Cioni.) TOSCA in Vienna with Bumbry, Domingo and Milnes in 1976? (The Vienna archives list no such performance.)
Mr. Milnes was a very gracious person when i spoke with him backstage after a performance in Columbus, Ohio. ELIJAH. What a authentic and Great Person!
Great memories sharing chorus stage with Mr Milnes Mr Pavarotti in Verdi Un ballo Greater Miami Opera 1988 Flagler Auditorium william Buckley conducting. Luciano and Sherrill in their prime.
I was very lucky to hear Milnes in London as Rigoletto, Simon Boccanegra and Macbeth in the 1980s. One of the greats; no one of his quality around today sadly. He was a splendid actor too.
Sherrill was an outstanding performer at the Lyric Opera of Chicago. I played bassoon in the orchestra and it was always a delight to hear him sing and to watch him move on stage. He was a good actor too!
It’s always lovely to hear that the players in the orchestra enjoy what the players on the stage are doing ☺️
It is impossible to review the greatest opera stars of the last century without discussing Sherrill as one of the brightest. His stunning musicality both on the stage and on recordings has meant so much to me. His unique and powerful voice will live on forever. Someone I would love meet, I wish I could have been at this conversation in person. So inspirational, thank you.
He is a very considerate and intelligent Artist. Very real and extremely Gifted. Spoke with him in Columbus, Ohio 1980.
lol
I heard him just before he went to the Met. He sang many dramatic arias so intense. I was riveted. Then, as if to cool us down, he sang Oh Shenandoah in a soft, gentle, non operatic voice, like a lullaby. Later I got him on the dvd of Fanciulla and loved him as Rance. Fine actor too!
Incredible Interview with and Incredible Artist, my Voice Teacher says to me often; “if God hand crafted a voice for Verdi, it was Milnes”
Very nice man, but pushed too much early on, causing a ruptured cord in the 70's. He never sounded the same.
Ransom Coates I agree! Iago, Don Carlo Di Vargas, Simon B, and Carlo Gerard weren’t for his voice, Tonio too. He just had a nice A flat!
Barone Vitellio Scarpia agreed
Barone Vitellio Scarpia precisely! The Aria is perfect, but the rest of the role is too low and heavy.
Barone Vitellio Scarpia I still think it’s too low (tesitura wise), but I agree with the roles you chose!
Those arias played were sheer perfection . He is the best of the best. Wonderful person. Amazing, Bravo, 👏👏👏👏👏👏
I just KNEW this was going to be wonderful! What a great man. I've always loved Sherrill Milnes.
bellissima intervista grandissimo baritono il mio idolo
Milnes offered his Gifts and Graces to all listening to his Genius.
The Greatest American baritone.
Milnes really IS good at death scenes - I remember hearing his Rodrigo on recording (the Giulini) and his death scene was simply fantastic. Such a perfect balance between realistic pain and gorgeous legato.
And his Boccanegra is absolutely majestic. I don't think I ever heard the curse scene more frightening than the way he did it. He just obliterated Paolo with his voice.
What a great interview,almost all my questions were answered.I can feel that he is a thoroughly modern singer into acting details,scenarios etc.I am almost his age but I find that sometimes there is too mch distraction with the acting or excessive stage embelishment I close my eyes and concentrate on the voices.I{ve seen some operas with minimal stage arrangements and I love it,
Great memories to share chorus stage with Mr Milnes/Mr Pavarotti Greater Miami Opera in Verdi Un Ballo Flagler Auditorium W. Buckley conducting 1988.
Lovely man and a Great artist
I saw him sing in Don Carlo during the Met National Tour days. Subtle, soft where needed--what a master.
I just came across this interview; still relevant, still fabulous. I always felt that with Mr. Milnes's handsome Scarpia, Tosca could have been "a little more lenient" (and save herself and Cavaradossi a lot of trouble).
an intelligent and important star. The 70 and 80s were a great period because of him. Too bad that later he had to use "hooks" to grab those high notes that were the glory of his early years. Stylistically he was kind of a Warren imitator ( but hell, he was the man to copy!) Milnes was THE Verdi baritone during the late 70s - but never quite went the full distance. Ii attribute it to the size. Not a small voice but not in the league of Warren Mccniel or Merrill. I was underehelmed after his recordings to hear him live. Still love him. Greatest Luisa Miller cabaletta ever! (met telecast)
Please define "the full distance."
@@liedersanger1 I guess that would require him to have died in his prime. Or retired earlier.
@@jefolson6989 Oh, geesh. Who goes the full distance? Some die young (Auger, Troyanos, Leonard Warren), some lose their top notes before they're 50 (de los Angeles, Tebaldi, Callas, Moffo), some give up for their own personal reasons (Farrell, Ponselle), some make bad personal choices (Callas again)... and yet all those listed so far are great singers. You can count on one hand the sopranos who went the full distance: Nilsson, Sutherland, L. Price. And one could find other faults with them too!
Milnes probably STAYED too long--that's another matter. One can only speculate about what happened to his voice. The cost of those many G-sharps and As? Maybe Levine kept hoping he'd repair that waver. But that doesn't really matter, does it? because, at his best, Milnes was the best of his time.
@@liedersanger1 ok.
Yes, he was a bit of a Warren imitator, especially when it came to high note itiis, and there were some idiosyncrasies in his singing-but all singers have them. I have no idea what not ":going the full distance" is supposed to mean. You may prefer other baritones, but he was as big as you get, and went the "full distance." Your comment about vocal size is just wrong. I never heard Warren live, but heard all the others many times, and Milnes had a very big voice, and made a great impact in person.
What a great interview. Loved it! I am now reading American Aria Encore. SM is so real!
And he has a birthday today! 🎂
Sherril Milnes forewer.
Milnes = awesome. The original great American baritone stud. But Fred! As soon as I meet an 'opera person' w/ a scarf---I'm out. Too many clips, too much Fred. Let's hear from Mr. Milnes; he's really interesting and smart. Plotkin's insights into the 400-yr arc of opera history isn't all that profound either, judging by his book. I wish Milnes had sung Chevreuse in Donizetti's 'Maria di Rohan'. That would have been something!
Yes. I concur. He got in the way of the star interviewee.
Don't condemn all scarved opera people for the actions of ONE! Lol. Scarves aren't the problem!
When talking about opera baritones of the 2nd half of the 20th century, there was Warren, Gobbi, Merrill, Milnes, and then there was everyone else. Those four names are in their own league above other greats like Fischer-Dieskau, Cappuccilli, Taddei, MacNeil, Bruson and Bastianini.
You never even mentioned Zancanaro who had one of the most satisfying baritone voices and greater technique than most anyone.
@@sw5114 Oh yeah. Zancanaro had a great voice and made some good recordings. Funny story though that Riccardo Muti once told in an interview of him trying to get Giorgio to hold back his volume and do more vocal shading. Giorgio wouldn't do it. He'd just keep doing it the same way every time. Which probably sounded great but wasn't what Muti wanted for that line.
Que pena que no estè subtitulado en castellano, genial Maestro!!!!
Too much Fred-show. Please let Sherrill tell HIS story!
I entirely agree. My sentiments exactly.
Thats the Fred style. But he gets interesting people. I think. Who knows ? They never get to speak!
No kidding. He gets great guests on the podcasts but they barely can get a word in. Frustrating.
Bravo Milnes! Fred Plotkin parla troppo e non dice niente.
Che vero! Giammai saprò chi ha pensato nel anni passati che Plotkin può fare questi intervisti con successo
@@matthewbrown17 Nessuno.
he sounds just like trump at 4:00 when he says "china!"
Milnes barely spoke.
Is the star here Milnes or Plotkin? What an annoying interviewer.
Perfect point!
Always the case with PLOTKIN. I listen because he had great guests. Once in a while, they get a word in when Fred has to take a breath. We want to hear THEIR stories. This is actually one where Fred takes a back seat! ( for him, anyway)
It pinnacle of Milnes career for me was the Cabaletta in Luisa Miller. On the telecast, you can see Milnes take a beat, and fill up with Supreme confidence. Words like " nailed it" don't convey it adequately. That night, that moment, everything perfectly in order. Thrilling!
@@jefolson6989 I agree. There are two versions of ‘Ah fu giusto’ on UA-cam. They are both absolutely splendid singing, but of the two I think the one that is audio only is better, the ending in particular. Rather than sing the written note and then attack the A flat, he goes right up the scale. MacNeil used to do that in the ‘Ernani’ aria, and the effect is always hair-raising.
@@ransomcoates546 haven't heard the audio version but will right now. Thanks!
Plotkin is so unbearably self-regarding and -promoting that it's hard to sit through these "interviews." (I love the comment here in Italian -- "he talks too much, and he says nothing.") He also commits blunder after blunder. Corelli on the Callas/Gobbi TOSCA? (That was Giuseppe di Stefano.) Bergonzi on the first Sutherland LUCIA? (No: Renato Cioni.) TOSCA in Vienna with Bumbry, Domingo and Milnes in 1976? (The Vienna archives list no such performance.)